Reservations – Oil Painting

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Interior Oil Painting    24 x 12 inches    See Pricing

Please contact me if you are interested in this or similar artwork.

I’m always drawn to interiors with figures in a back-lit setting. I want to paint “the light” and how it affects the surroundings, but I’m not especially interested in capturing a true likeness of the people who are in the room. I envision them as an “every person,” not a specific person. I like that they further the story of the painting and solidify the composition, but I don’t want viewers caught up in trying to figure out who they are.

I am not sure this makes sense at all, but it is one of the issues that I constantly struggle with now that I am incorporating people into some of my paintings. It is a conundrum, especially since our eye is always drawn to the human being in any piece of art.

Do any other artists out there deal with this?

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This artwork was created on: Linen Panel
Medium: Royal Talens Cobra Water Mixable Oil Paints and Holbein Duo Aqua Water Soluble Oil

Radnor Station – Oil Architecture Painting

RadnorStation-sm
Oil Architecture Painting    12 x 12 inches      SOLD
Please contact me if you are interested in this or similar artwork.

When I attended Wayne Plein Air Festival last May I became fascinated with the old stations along the “Main Line” of the Pennsylvania Railroad outside of Philadelphia. I fell in love with Radnor Station and took photos of it the Sunday before the festival started so that I’d remember to return and paint it on-site. But I didn’t allow for the fact that on weekdays its impossible to work there because the parking lot is jampacked with workers heading into Philadelphia. I painted other stations en plein air, but was unable to tackle this one the week I was there.

Imagine my surprise when a friend of mine in Ann Arbor told me her father took the train into Philly from that station every day and that she herself had ridden it for years to Bryn Mawr. I wanted to do a painting from my reference photo, and she wanted a remembrance from her time in Pennsylvania.  I really concentrated on trying to keep a looser, plein air feel about this studio piece. It’s my favorite building painting….so far!!

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This artwork was created on: Linen Panel
Medium: Royal Talens Cobra Water Mixable Oil Paints and Holbein Duo Aqua Water Soluble Oil

Two pastel portraits using different techniques

Becca8-sm
Pastel figure painting      17  inches x 12 inches   

At my Portrait Class immediately after Margaret Dyer‘s workshop, I decided to create a portrait of the model in my usual way, and then try one incorporating some of Margaret’s techniques. Its always confusing for me to paint after I have been at an especially good workshop. How many of the new ideas should I incorporate into my paintings without sacrificing my own style? Is one technique “right” and another “wrong” or are they all different means to different ends?

BeccaPsychedelic-sm
Pastel figure painting      17  inches x 12 inches   


This artwork was created with:
Paper:Mi Tientes Canson Paper and Colourfix Pastel Paper

Medium: Rembrandt Pastels and Sennelier Pastels

Spring Greens – Oil Painting

springgreens-sm
Oil Landscape Painting    24 x 18 inches
    See Pricing
Please contact me if you are interested in this or similar artwork.

As I continue to paint larger oil landscape paintings, I’m trying to keep my plein air wits about me. In the studio I have waaaaaay too much time to “niggle” and get caught up in details. I fuss and fuss …and my paintings can become overworked. Somehow I want my studio work to have the same fresh feeling as the pieces I create outdoors. To this end, I’m really trying to keep these 10 thoughts in my mind as I work at my studio easel.

1. Choose a scene with a strong focal point and don’t loose track of where the main emphasis should be.

2. Squeeze out lots of paint and apply it liberally. Don’t skimp.

3. SQUINT at the reference material. Open eyes to paint.

4. Create a strong under painting of the composition in transparent red oxide, with all the values intact.

5. Lay in darkest darks next, with combination of transparent red oxide and ultramarine blue.

6. Don’t just paint with color. Paint VALUE.

7. Include atmospheric effects (even if your photo reference doesn’t show it).

8. Dark areas are never as dark as they appear in photographs and light areas are never as light.

9. Imply loosely areas that are not at the focal point. Don’t over detail.

10. Paint quickly and stop BEFORE you think the piece is finished.

WHEW. That’s a lot to remember. It reminds me of learning to golf. Keep your head down, bend your knees, arm straight, eye on the ball….

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This artwork was created on: Linen Canvas
Medium: Royal Talens Cobra Water Mixable Oil Paint and Holbein Duo Aqua Water Soluble Oil

Margaret Dyer Workshop- oil

harrietwaits-sm
Oil Figure Painting    16 x 12 inches   

Please contact me if you are interested in this or similar artwork.

On the third day of Margaret Dyer‘s workshop, we each worked from our own model photos that we’d taken the day before. I decided to try to incorporate some of her techniques into my oil painting. I found this more challenging because it is difficult to layer oil colors in the same way that you can pastel. You really have to guard against creating muddy colors that die on the canvas, instead vibrant hues that SNAP.

I’m not sure I “got” all of her lessons and would love to study with her for an extended period. But regardless, I really felt like I pushed the color and application in my paintings to places they’d never been before. And that’s what going to a workshop is all about. I didn’t want to come out of the class painting as a “Mini Margaret”. But I did want to increase my own skills and look at the process in a completely different way.

preparing-sm
Oil Figure Painting    16 x 12 inches   
Please contact me if you are interested in this or similar artwork.

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This artwork was created on: Linen Panel
Medium: Royal Talens Cobra Water Mixable Oil Paints and Holbein Duo Aqua Water Soluble Oil

 

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